Reviews Archives - Page 5 of 84 - The Millions

September 2, 2016

American Appetites: A Fiction Review in Three Courses 0


Each of these books is predominantly about appetite — for food, sex, fame, money, adventure — and its potential wasting effect on the human soul.

September 1, 2016

Sour, Obscene, and Obsessed with Saints 0


Imagine Flaubert’s ‘The Temptation of Saint Anthony’ set behind a Waffle House.

August 30, 2016

Bango! Tom Wolfe Surfs the Net 3


Tom Wolfe thinks Charles Darwin was a fraud, a snob, a cheater, and an asshole. And he doesn’t like Noam Chomsky much better.

August 16, 2016

Looking for Meaning in ‘Riverine’ 0


If ‘Riverine’ is mining the territory familiar to any coming-of-age narrative, then it stands out both by the relentlessness with which the comparative mind of the author works and by her willingness to question her own metaphor-making tendency.

August 16, 2016

We Are 1: A Poem for Black Lives 1


This is an epic of identity. It proposes black identity (love, being wild) to its reader, as a written articulation of “black is beautiful”; it functions as a model of identity to adhere to and trust.

August 12, 2016

British Humiliation and ‘The Cursed Child’ 2


Bollocksing things up in front of your peers and suffering a metaphysical death from embarrassment is a fundamental part of the British human condition, if one that is downplayed in the fan worship abroad.

August 11, 2016

Vast and Riotous: On Rion Amilcar Scott’s ‘Insurrections’ 0


What does it mean to rewrite the Bible in slang? And how does that redress the sting of police profiling?

August 10, 2016

A Different Kind of Iraq Novel: ‘War Porn’ 0


The literature of this war has focused on the homefront to a greater degree than any other conflict in U.S. history. Roy Scranton is having none of this.

August 8, 2016

Still Searching: Poets on God 1


How do we discern a writer’s religious beliefs? When does the private belief inform the public art?

August 5, 2016

Don’t Quit Your Day Job: Richard Vine’s ‘Soho Sins’ 1


SoHo Sins succeeds because it was written by a man with a day job, a job that gives him intimate knowledge of how a subculture works – its personalities and preoccupations, its business practices, its styles, its silliness and occasional beauty.